That's where all those weird covers come into the picture. He had to start somewhere, and in 1990, he decided just to play what he loves. Who knew "Nights in White Satin" could be so therapeutic?

He eventually landed a steady gig at the Hyatt Regency in Scottsdale, where he performed for boomers, retirees, and the occasional young couple in search of a romantic evening. Estéban didn't tap into a wider audience until he hooked up with cable television's home-shopping empires, first QVC, then HSN. A whole lot of middle-aged women watch those stations – heck, my mother bought me a DVD player through QVC – and he's successfully connected.

That's what has him so geeked about his new boogie-oogie-oogie venture. Who's to say his audience can't skew younger? "There's a whole group of people out there, between the ages of 15 and 28, maybe as old as 30, that really love that dance groove," says Estéban, sounding increasingly like a 54-year-old. "I've never ever had those people as part of my audience."

The Man in Black aims for a wider audience.

If a man in black for squares can get this far with an instrument normally reserved for the poverty-stricken and teachers of night classes at community colleges, then maybe he really can become a pop star. Doubt the guy at your own peril.